I rarely write about myself in my blog, but I have a concert coming up on February 12, 2017 in New York City and that’s my focus for the next week. The theme and title is “Amor Latino/Latin Love.” I’m performing this with two other singers, Celia Castro and Anna Tonna, and pianist/composer, Max Lifchitz. Here’s […]

While putting our program together for “Belleza de las Américas” for voice and guitar, I looked over a piece of music I had received as a comp copy from Oxford University Press many years ago. They were simple but beautiful songs by the Ecuadorian composer

Diego Luzuriaga. I messaged the maestro via email this past fall to ask about his complete cycle for voice and guitar from where the songs came from, Eleven Songs, composed to his own text. He answered right away and we talked about the work. The cycle is out of print and not obtainable, although it can be checked out from the NY Public Library. I would say the texts are unified by a sort of celebration of life: a lullaby for the birth of his son, hope in the future as well songs that are set to a kind of romantic poetry, with imagery that is heartfelt and with the smell of earth. All the songs were recorded by soprano Dana Hanchard (I purchased this CD via Amazon), in which Ms. Hanchard performs these ballads in a frank and personal manner.

Diego Luzuriaga

I showed the songs to guitarist Francisco Roldán, and he suggested we work on “Tu eternidad”; we started to develop the piece for our next performance in Long Island this past fall. The composer writes on the score the word “pasillo”, to give us a clue as to the affect of the song. The “pasillo” is a prevalent 3/4 meter and dance step that can be found in many South American countries. The words are simple, forthright but sensual; here is my hasty English translation of this song:

Your Eternity

Inside the wind I will find your voice,

following the path of my days in the sun

and in high nights, with my singing voice.

I will find your warm clarity

and your fresh cool hands…

Climbing near the rivers, the fog and forests,

I will find your breast, your pulse and your shadow,

I will find your breath and the eternal you

We worked the song to find its natural arches and climaxes, and for me to find a way to say these words in the most natural way possible. We performed the song at least once in the original guitar and voice. I afterwards was thinking of ways to include another South American dance in the off shoot of “Bellezas de las Américas”, the project “Alegría Hispana“, which is comprised of the Latin American songs that Francisco and myself perform, but with the inclusion of the art of Spanish dancer Elisabet Torras Aguilera. The program as it stood had several dances from Spain and only one from the Americas ( a habanera “La paloma” by Sebastian Yradier). In order to add more of South American dance, I suggested that Elisabet try to interpret “Tu Eternidad” by Mstro. Luzuriaga with us.

Elisabet’s specialty includes all the important dance genres of her native Spain (regional folkore, Andalusian flamenco as well as the sophisticated and suave 18th century Escuela bolera). She willingly took the project up, listening to various different “pasillos” on Youtbe, as well as observing various dance shows, including interpretations by the National Ballet of Ecuador and street videos of this dance…she dabbled in Wikipedia as well as online documentaries to learn about the birth of the “pasillo”, and the influence of the European waltz upon it. She related that were two types of “pasillo”, a ballroom version and a popular street version. The costume she chose to represent this piece included a blouse with high collar (very 19th century), with a full colonial style skirt. Elisabet’s “pasillo” was a historical, sober and elegant depiction of “pasillo”. We premiered this new creation this past summer for the Latin American Cultural Center in Queens.

This coming Sunday December 11th 2016, we will do “Alegria Hispana” once more, and we interpret this beautiful version for voice, guitar and dancer of Diego Luzuriaga’s “Tu Eternidad“, in Huntington (Long Island) at 2:30 pm; free admission. Presented by the South Huntington Public Library (located at 145 Pidgeon Hill Road). For more information, please call 631-549-4411, or check out our Facebook Page Bellezas de las Americas.

Centennial celebration of the birth of Carlos Jiménez Mabarak, Consuelo Velázquez, Alberto Ginastera, and Henrietta Yurchenco on November 14, 2016 at the Renee Weiler Concert Hall in Greenwich House Music School, New York City.

I had no previous knowledge of the Latin American Piano & Song Festival in New York City. If I had, I would have been there since the first year. This is César Reyes’ 9th year as producer, performer, and music director of this project. I’m familiar with Latin American Art Song but I’m not familiar with Latin American Piano Music. Reyes’ talents as a musicologist were in ample display on November 14th.

Before each piece Reyes addressed the audience and gave a short introduction of how he encountered the piece and how he got his hands on the score, since working editions of this music is difficult to obtain. He dedicated the program to one of his mentors, the American Ethnomusicologist Henrietta Yurchenco. He began the program with Mexican composer Carlos Jiménez Mabarak “Sonata para piano” and “Ay luna ven”. I didn’t know Jimenéz’s music, so it was a pleasure listening to this wonderful pianist bestow life to the notes on the page. This was a great beginning to what ended up being a delightful evening.

Next, he played “Fiesta de pájaros” by Guatemalan composer Jesús Castillo. As a listener, it was fun to picture each bird. Reyes technique allows him to produce a lot of sound and a clear trill for the bird calls. He followed with the Puerto Rican danza “Mis Amores” by Simón Madera. With this piece Reyes failed to transport me to a late 19th early 20th century ballroom in Old San Juan. I was a little disappointed since he had previously taken me to the Amazonas with the bird calls in the previous piece. This didn’t last long since he made up for it by playing “Marinera de concierto” by Peruvian composer Rosa Mercedes Ayarza. This piece was a great discovery, and a wonderful example of Peruvian Nationalist music.

For this festival Reyes invited singer Diana Sofía to sing Consuelo Velázquez’ classics “Amar y vivir” and “Besame mucho”. He then closed the concert with Argentinian composer Alberto Ginastera’s “Milonga” and “Danzas Argentinas”. To an enthusiastic clapping audience, he performed the Mexican National Anthem transcription by Ricardo Castro displaying great skill playing a masterwork of Mexican Nationalism. I greatly enjoyed this concert and discovered new music from composers had not known previously. Thank you, César Reyes, for a delightful evening. Looking forward to the 10th Annual Latin American Piano & Song Festival.

Guest writer of the Spanish Song Slinger blog, Puerto Rican soprano Sandra Mercado is based in New York City and is dedicated to the classical vocal repertoire of the composers of Latin American. http://www.sandramercado.com/

The announcement of a Zarzuela Gala on Sunday, November 13th at Weill Recital Hall at New York’s Carnegie Hall came as a pleasant and unexpected surprise because one does not find often a zarzuela concert in New York City.

For those of you who don’t know (and there’s a big number in the United States, even among a cultured audiences) and although Zarzuela is almost impossible to describe with one word, or to give it a uniform description, Zarzuela is the blending between traditional Spanish music and the European operatic forms. In a way it is the Spanish national answer to musical comedy, a mix of traditional and popular music, even folk sometimes, with opera and operetta forms. Zarzuela comes from a very complicated musical tradition that is wide and very rich. Having survived for such a long time as a genre, one can find zarzuelas composed in the 18th century musical style which could be seen as scarlattiesque; as a 19th century operatic form; dramatic; historical; regional (using traditional dances and popular tunes); operetta-type; as opera buffa, etc.

What matters here is that Zarzuela has always been immensely popular in Spain. They are still performed in every city in Spain (and also in South America) and its most popular tunes are known and sung by almost every Spaniard. My grandmother is a good example of this: in the 1920’s she had a full-subscription at Teatro Apolo (the main theater for zarzuelas in Madrid) and she would attend sometimes to the daily fourth performance of the day, known as “La Cuarta de Apolo” (“Apolo’s Fourth Performance” ) this last one being always the most popular of the four. She knew by heart every song, every prelude, every duo and every trio,from all the zarzuelas in the entire repertoire; and she was no exception since in Spain they were many people who like her, knew zarzuelas by heart.

Final ensemble “Mazurka de las sombrillas” at 31st Annual Gala of Los Amigos de la Zarzuela at New York’s Carnegie Hall on November 13, 2016. Photo credit: Keenan Higgins

In any case, last Sunday November 13th, the New York-based non-profit organization “Amigos de la Zarzuela” organized a memorable all-zarzuela concert in Carnegie Hall, to our delight. The program included solo pieces “romanzas”, arias, and ensemble works from many different periods and the many different styles that one can find in the Zarzuela repertoire. We even listened to chamber music from composers such as Manuel De Falla, Enrique Granados or Luigi Bocherinni, composers that one necessarily does not relate to Zarzuela.

Maxim Anikushin, the piano virtuoso played these chamber pieces, sometimes solo, and at other times accompanied by Elisabet Torras Aguilera, who in this concert performed “Danza Clásica Española” and “Escuela Bolera” dance styles; her dance performances included difficult castanet playing, especially in her performance of “Danza V” by Enrique Granados; in this instance she was accompanied by the polished mezzo Anna Tonna (in a rare version of this solo piano piece with sung text), who is well known for her research and commitment to the music of Spain and Latin America; she had a clear vocal style that was perfectly suited for Zarzuela and for Spanish repertoire.

We also heard Spanish tenorMiguel Borrallo, who had an amazing high register, able to easily deal with the difficulties of the Zarzuela repertoire, well known for its vocal challenges.

Maxim Anikushin also accompanied soprano Rosa D’Imperio and baritone Ricardo Rosa, and the other two singers demonstrated their deep knowledge and understanding of the zarzuelas, specially at the end when all four performed the famous “Mazurca de las sombrillas” from Federico Moreno-Torroba‘s “Luisa Fernanda“, or at the end of the first half of the concert in the inspired duet “Dejame tocar tu mano generosa” from Jose Serrano’s “La Dolorosa” (my favorite) in which Anna Tonna and Miguel Borrallo did an excellent job and bringing the audience to tears and to a well deserved final ovation.

I was happy to see that Latin American Art Song was being celebrated for Hispanic Heritage Month here in NYC, with an atractive concert produced by the young and enterprising tenor Mario Arévalo. The concert, held on the evening Friday October 28th as part of the “Music at Second Presbyterian Church” in Manhattan, programmed both Latin song standards as well as lesser known gems from the art song realm; then again, Latin American composers, both pop and classical have been know to walk a fine line between the two worlds. This subtle interplay between pop standards and the denominated “art song” characterized the whole evening.

Tenor Mario Arévalo

The concert was accompanied by pianists Juan Guerra González and Markus Kaitila, as well as percussionist Aracely Sánchez and guitarist Bradley Colten. Arévalo was joined by sopranos Elissa Álvarez, Teresa Castillo, Rosa D’Imperio and Mary Thorne; tenor Andrés Peñalver and bass-baritone Iván Amaro rounded off the interpreters of the evening.

The concert began with an ensemble version of “Siempre en mi corazón” by the well known Cuban composer Ernesto Lecuona (1895-1963) and segued into a first half of short song sets by composers from Argentina, Venezuela, Costa Rica, Cuba and Mexico. Bass-baritone Iván Amaro and tenor Andrés Peñalver performed songs that highlighted composers from Argentina and Venezuela. The young and silver toned soprano Teresa Castillo pleased the audience with two beautifully interpreted songs from the mid 20th century pop standard world that begged to be sung by a lyric voice: “Luna Liberiana” by Jesús Bomilla (1911-1999) from Costa Rica was a mix of jazz and French impressionism; “El Faisán” by Lecuona climbed to a higher tessitura that showed off Ms. Castillo’s voice to great advantage.

Soprano Teresa Castillo

The generous and impassioned voice of Rosa D’Imperio’s spinto soprano filled the hall with her interpretations of “Estrellita” by Mexican Manuel Ponce (1882-1948) as well as the final romanza from Lecuona’s Cuban Zarzuela “María la O”. Joining her in an appropriate manner were the bongos of of Aracely Sánchez.

Soprano Rosa D’Imperio

Mr. Arévalo gave us a wonderful rendition of the bolero “Costumbres” by Mexican composer Juan Gabriel (1950-2016), and Mr. Peñalver drew smiles from the audience when he essayed the well known “Cielito Lindo” by Mexico’s Quirino Mendóza y Cortés (1862-1957).

In the second half, Ms. Castillo returned with a song that again was a perfect fit, with Spain’s Joaquin Rodrigo’s “De los alamos vengo, madre”, followed by soprano Mary Thorne’s only solo appearance in the concert, with the soprano/guitar version of Heitor Villalobos lyrical first aria from his “Bachianas Brasileiras 5”. The fiendishly difficult buchee fermée section was splendidly performed and greatly appreciated by the audience.

I was pleasantly surprised to know of the work of the lyric soprano Elissa Álvarez, who interpreted three very fine songs by the Colombian and onetime resident of our city of New York, the Colombian composer and conductor Jaime León (1921-2015). Sensitively interpreted and with fine text couloring, she rounded out what was the bona fide “art song” section of the program.

Soprano Elissa Álvarez

Following were interpretations of “Fina estampa” by Chabuca Granda of Peru, appropriately sung by Iván Amaro; there was the soulful interpretation of the song “Olas y arenas” by Puerto Rico’s most beloved “torch” song composer Sylvia Rexach by Ms. D’Imperio, with an original arrangement by pianist and composer from El Salvador, Juan Guerra González.

The final set was an homage to Mr. Arévalo’s native El Salvador, which he presided over with two songs by Pancho Lara (1900-1989): “El carbonero” and “Las cortadoras”; the concert had a special ending with the US premiere of Mr. Guerra González’s nostalgic ode to a mother’s love with “Las manos de mi madre”, which had an attractive melody and brought the concert to a successful close.

It was with great interest that I spied that The Americas Society on Park Avenue had scheduled a concert of vocal and chamber works dedicated to the young mavericks composers that headed up the early 20th century modernist movement in Latin American music in the 1920’s and 30’s. The names on the program are composers that I knew from my own forays into songs of the early to mid 20th century composers of Latin America: the Cuban composers Alejandro García-Caturla,Amadeo Roldán and the Mexican composer Carlos Chávez; so it was with great it was expectation that I made my way via an invitation from America’s Society Martha Cargo to attend the concert with the intriguing and inventive title of “Modernismo Rumbero” on March 28, 2016.

The second of a two part series, the “Modernismo Rumbero” concert that took place on Monday March 28, 2016 highlighted the most avant garde of movements of the 20’s and 30’s known as “Afrocubanismo“, which in many ways heralds the Harlem Renaissance movement, and which interestingly enough key members of the respective movements were in close contact with each other, such as American poet Langston Hughes and Cuban poet Alejo Carpentier. Also to be noted are friendships and communications between American composer Henry Cowell with the musical factions of Afrocubanism via an association called the Pan American Association of Composers (1928-1934) also known as PAAC, founded by Edgar Varèse. A fascinating collective of music creators, this group sought to forge with new sounds and new identity a way to separate themselves from a past European musical heritage. Although this concert of two pioneer musical exponents of Afrocubanism includes Mexican composer Carlos Chávez (how could it not!) with his ties to NYC and to the movement Pan American Composers collective, this concert sought to offer a vision of this very exciting time that involved identity, race politics in poetry and music creation in the Americas.

Cuban composer Alejandro Garcia Caturla

Pianist Alexandre Moutouzkine began the first half of the program with Garcia-Caturla’s “Preludio corto” (1927) with its ragtime scales laced with dodecaphony, followed by Roldán’s “Rítmica No. 1” (1930). The pianist delved into both of these piano miniatures with verve and imagination, exploiting the percussive nature of the pieces; these two short piano pieces were over too soon, and I immediately wished to have the opportunity hear them again; I didn’t know at this point in the concert in the concert that my wish would be granted. The concert continued with the remarkable woodwind quintet ensemble The City of Tomorrowand soprano Sarah Brailey, with a performance of Carlos Chávez settings of text by modernist Mexican poet Carlos Pellicer for high soprano and wind ensemble called “Tres exágonos” (1923) and “Otros tres exágonos” (1924). The intrepid Sarah Brailey entered with spiked short blonde hair and an arm sling; with her free hand she yielded a tuning fork. The group subsequently launched into a highly difficult three movement . I appreciated Brailey’s clear soprano and well pronounced Spanish text, which breathed of the surrealism that was contemporary to this composition. The playing was assertive and energetic. A serious piece and not for the faint of heart, “Tres exágonos” (1924) reminded me of a possible plaintive flapper Ophelia recounting her troubles listlessly on an analyst couch. “Otros tres exágonos” was a well chosen subsequent piece to contrast, full of humor and highlighted the virtuosity of the guest violist Stephanie Griffin. I enjoyed the somewhat theatrical music that Chávez assigned to the bassoon part in these pieces, which was full imaginative interjections for the ensemble as a whole. TheCarlos Pellicer texts were certainly eye catching, surreal and dreamlike; I post her a translated excerpt:

The ship has crashed into the moon.

Our luggage was suddenly illuminated.

We all spoke verse

And referred to the most hidden facts.

But the moon sank

In spite of our romantic efforts.

The Chávez chamber vocal ensemble piece was followed by a folk like piano solo miniature by Roldán “Preludio Cubano”, and Afro flavored “Mulato” (1932) as well as Garcia Caturla’s “Comparsa” (1930). To end the first half was the surprisingly long phrased lines of the song for voice and piano “Yambambó” (1933) by Garcia Caturla, a musical setting of the Cuban poet Nicolás Guillén famous poem. The song is remarkable on many levels, the first of which that it unites the two most important exponents of the new Afro Cuban modernist aesthetic in both music and poetry. Having sung several versions of this text, the setting of García Caturla’s was surprising to me. Brailey sailed almost too delicately thru the strongly cadenced Afro Cuban “nonsense” text. The contrast and choice was probably drawn from the composition itself, perhaps in García Caturla’s effort to create his new aesthetic to perhaps to astonish a concert going public of the time, the pairing of a classical soprano with Guillén’s text of drunken black man, with music that harmonically in its melody was close to the Afro-Cuban sound, but arching phrases wise closer to an aria from an opera. I couldn’t help of thinking of the contemporary art scene analogous to these pieces, the interest in African art and masks of Picasso for example as well as the sheer energy I felt from these pieces of these young composers, wanting to create a new language and a new expression. How did the public of these pieces react when hearing this music? what did the first interpreters of “Tres exáganos” make of this music, what were their choices? 90 years later the pieces still sound very daring.

Soprano Sarah Brailey

At intermission, music director of the Americas Society concert series Sebastian Zubieta talked of the “nonesense”poem tradition in the early 20th century Latin America from which the text Yambambó is born of; he cited Lewis Carroll, but I couldn’t help thinking of a much closer contemporary, Gertrude Stein and her path breaking text for the opera Four Saints in Three Acts by Virgil Thomson. I was also reminded of the US version of these experimental concerts, the well known “Friends and Enemies of New Music”. Like many movements, these modern Latinos are coming out of a very specific zeitgeist. Zubieta spoke how the evenings concert was also an homage to these very same concerts that these composers produced to show case their work, and how in the second half of the concert the pieces were repeated; this was the case with the concert of the evening. All the pieces were repeated in a different order, and I must say it was with different ears that I was able to hear the very same music.

A stamp commemorating the Cuban composer Amadeo Roldan

The Americas Society is to be congratulated for the programming of these seldom heard pieces, which in the light of the new diplomatic relations between the US and Cuba, it is certainly on point for us to get reacquainted as a concert going public with the musical ties and history between Cuba, the rest of Latin America and the US.

A link to a PDF of “Modernismo Rumbero” concert program can be found via this link:

The tireless Eva de la O, soprano, producer, arts promoter and artistic director of Musica de Camara of NYC has been a supporter of my activities for many years now. She first programmed me in a solo recital at the Museum of the History of New York in 2006, and has followed my activities both here in town and in Spain. She miraculously appeared at my dressing room at a concert I did in San Juan, Puerto Rico and was at hand to zip me up in a somewhat tight orange satin number that I wore…

Anna at the Festival Ibero Americano de las Artes in San Juan, Puerto Rico

Eva has helped many musicians and interpreters like myself thru the years that are either of Latin American descent and or committed to music by Spanish and Latin American composers, by presenting these artists in concerts at important NYC venues.

Soprano and artistic director of Musica de Camara, Eva de la O

I was thrilled when she asked me to be part of her series of “Charla Conciertos” (lecture concerts) which take place at New York’s Museo del Barrio, and be part of her season this year which celebrates the accomplishments of the composerRoberto Sierra. I had the opportunity of interpreting his piece for mezzo and wind quintet called “Dona Rosita la Soltera” with text by Federico Garcia Lorca (see an earlier blog article I wrote regarding this piece). This time I was asked to perform his newly composed cycle “Julia”, for voice and piano on text of my favorite poet, Julia de Burgos (1915-1953)

Poet Julia de Burgos

Together with the cycle for mezzo and piano by Sierra, a piece for solo guitar by this same composer was programmed, “Tres piezas breves” to be interpreted by my new friend the guitarist Oren Fader, along with two short songs by the Brazilian composer Heitor Villa- Lobos and a cycle for voice and guitar by the Cuban/Spanish composer Eduardo Morales-Caso called “Homenajes”. Both “Julia” and “Homenajes” are NYC premieres.

Its not my first incursion in interpreting musical works with text by Julia de Burgos; I did a special concert project called Canciones para Julia in Madrid (Spain) in the occasion of the centennial of her birth, with my friends at Aeterna Musica and the group from the editorial La Discreta in 2015 but that’s the subject of a future blog article!

I enclose the program notes I wrote for this concert, which will take place on Friday March 4 at 8 PM at El Museo del Barrio of NYC; I will be writing a detailed article on my experience and impressions of the song cycle “Julia”, which I perform with my good friend, the pianist/opera conductor and composer Samuel Kardos.

The song cycle Julia (2014) by Roberto Sierra is a commission by the Chancellor of the University of Turabo in Puerto Rico in occasion of the centennial of the birth of Puerto Rican poet Julia de Burgos (1914-1953), who is acknowledged as one of the great poets of Latin America. Ranging from the folk like and elegiac beginning of “Amante”, the cycle continues its journey taking its cues from Burgo’s projection of the self onto nature with “O pájaro de amor” with its euphoric triad piano figures, to the portrayal of intense self-scrutiny of different states of being using quasi recitativo passages over a syncopated walking bass (“Momentos”). Sierra’s usage of Neo-romantic color is reminiscent at times of Robert Schumann and the great German romantic lied composers; he is able to approach the subtle and at times dramatic cadence of the text, with usage of vocal melodies that transition into intense and at times frenetic heights; this in turn is coupled with an accompaniment that brings the listener to emotionally “complex” moments. The setting of the Spanish text is satisfying and organic, giving full rein for both the interpreters and audience to experience a work that is honest, thoughtful and in synch with the emotional landscape of the poet. Tonight’s performance constitutes the New York premiere of this song cycle for mezzo soprano and piano.

The guitar works and concertos by Roberto Sierra are being commissioned by solo guitar artists and orchestras both here and in Europe; his works for solo guitar are currently being lionized and recorded by the likes of Manuel Barruecos for Naxos with pieces such as his Concierto Barroco and Folías, which incorporate themes and aesthetics drawn from Latin American narrative, folk and baroque music; witty and highly colorful, Piezas Breves was premiered in 1997.

Brazilian composer Heitor Villa-Lobos hardly needs introduction, as he is considered one of the giants of 20th century Latin American classical; he is represented tonight not in his avant garde, Amero-Indian or Debussy like aesthetics, but in a almost sentimental vein that harks to an imagined 19th century romanticism of his native Brazil: Canção Do Poeta Do Seculo XVIII (1948) is a melancholic melody that like many pieces by the composer, gently balances between art song and popular ballad. Nhapôpé is taken from the first collection of Modinhas e cançðes, composed in 1936 and tells of the legend of a forest goddess that comes during the night seeking a lover.

“Homenajes” for mezzo and guitar (2014) by Cuban-Spanish composer Eduardo Morales-Caso is described by the composer as his “most meaningful lyrical-music, which offers historical continuity of the transcendental legacy of Spanish composition.” Each piece offers a separate homage to three of the most important composers of 20th century Spain: Joaquín Rodrigo, Frederic Mompou and Manuel de Falla.

The works of Roberto Sierra are edited by Subito Press. Pictured here is an edition of Julia de Burgos poetry entitled “Songs of Simple Truth, which I bought at a leftist bookstore in the Village called “Revolutions”, translated and edited by Jack Agueros

“It is well known the relationship that Rossini had with Spain, as he was married at one point to the soprano Isabel Colbran, had an intimate friendship with the Garcia family, spoke Castilian, composed for a Spanish public using characteristic themes of the (Iberian) peninsula for several of his (compositions) pages. Here are we have 16 brief numbers, which are easily understood as being as salon music, although said with all due respect as it belongs to the great Giaochino of Pesaro. They are works for the occasion, and we all know how much advantage he could take of said occasions. Its enough to give a look at his Sins of old Age, as he himself called them. The fountains (from which the material) can be easily discerned to the ear, and its exquisite treatment is evidenced. Rossini was inevitably gracious, melodious and amorous to the voice, and ingenious with the piano. It includes the dances tirana and bolero, religious inspiration, the breaking of love and the furtive (love) scene. It is always Rossinian, with that all is said. The interpreters have given care (to the pieces), know what this style asks for, and the sound of the pianoforte gives the atmosphere the color of salon and the peculiar flavor that helps to transport ourselves towards the airs of this infrequently heard music. For its document and profesionality of the labor, it deserves many lauds”.